About route and working way choice

This is it, if a route gets us nervous and we always find excuses to postpone or justifications, that is not our route.
The route that belongs to us gives us a kind of madness or enjoy that goes with us and is, finally, as a drug or a protection that intercepts suffering or barriers that others see, as insuperable, in our life.

When I paint, when I create, the most important thing is having a lot of liberty, mental especially, I should say that mental emptiness capacity is the starting interior condition.

The work is an order that born from chaos and is like a miracle, a feast.

For this cause, always according to my opinion, the best thing is working in a studio independent from the apartment where I live, or, at least, in a place or space whether to be able to dirty, to try, to mix and to accumulate ideas, histories, apparently useless objects.

The studio of the unmistakable and great Francis Bacon –some years after his death, in 2001- was moved from London and installed in an open to the public Dublin gallery. Inside there were found 7.500 objects among photos, cut from magazines and books, empty bottles, left undone canvasses, jars of painting, newspapers on the floor and layers of painting overlapped on the walls: all a mess moved and re-installed as it was as an ancient fresco painting. Also in my case, we say that the apartment where I live is much more squared up than the place where I work.

Besides, another key condition is having time.

I came to the decision, several times, to cancel working meetings and other plans explaining that I was sick, as example, only to finish a poem that waked up with a morning, without “it” informed me.

Interview to Gladys Sica by Edith Checa published on spanish magazine “Jirones de Azul”(04.08.2006)

"From expressionism she received the human figure tormented introspective excavation and the strokes and chromatic range crude simplification; from informal painting, on the contrary, she derives the pulsating and grumous material painting, of the extensions and the violence of timbre contrasts.
The iconography is scanty: the man and/or the woman placed in one habitat or in one indoor location, the landscape, crossed through a kind of storm of antinomy motions: reflexes of so many vicissitudes that are agitated in the modern man tormented soul.

The pictured characters remain bound to locations like astonished figures of afflicted and emaciated human condition, in certain cases they appear to us similar to tragic statues between the cliffs or the domestic walls: in a existential stall of calcified sorrow.
The struggles between life and death, rage and love, hope and despair pass through, therefore, her oil paintings tissue hold by a genuine vitality, which not much concedes to aesthetical hedonism or to experimental complacence. In the most inspired works, each element of the painting remains impressed-excavated on and in the surface with virile vehemence and with a sharp and wild grace."

Gianni Pre, from one-person exhibition catalogue to "Ciovasso" Gallery , Milan.

…and immediately catch the eye, the wide works with extent and large spots, made with a spatula, like the tool, the spatula, with which they were made…

Franco De Faveri, from one-person exhibition catalogue to "Sargadelos" Gallery, Milan.